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In the second decade of the sixteenth century medieval piety suddenly began to be attacked in some places as 'idolatry', or false religion. Wherever these ideas became accepted, churches were sacked, images smashed and burned, relics destroyed, and the Catholic Mass abolished. This study calls attention to the centrality of the idolatry issue for the Reformation. It traces the development of Protestant iconoclastic theology and practice, provides a survey and synthesis of its unfolding from Erasmus through Calvin, and lays a foundation for understanding the Reformed ideology that stood in conflict with Catholicism and Lutheranism. Professor Eire's main thesis is that the argument against 'idolatry' was central to Reformed Protestantism, both in its theological aspect and in its political ramifications, and that it reached its fullest and most enduring expression in Calvinism.
Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.
Those who have a passing knowledge of John Calvin’s theology and reforms in Geneva in the sixteenth century may picture the confident and mature theologian and preacher without appreciating the various events, people, and circumstances that shaped the man. Before there was Protestantism’s first and eminent systematic theologian, there was the French youth, the law student and humanist, the Protestant convert and homeless exile, the reluctant reformer and anguished city leader. Snapshots of the young Calvin create a collage that give a bigger picture to the grey-bearded Protestant reformer. Eleven scholars of early-modern history have joined in this volume to depict the people, movements, politics, education, sympathizers, nemeses, and controversies from which Calvin immerged in his young adulthood.
This book discusses the tensions in major Renaissance literary texts between the cult of monarchy and its subversions by Christianity. It corrects some modern scholars' assumptions of a prevailing divine-right theory of monarchy. A recurring theme from the English mystery plays to Milton proposes an inherent tendency of monarchy toward idolatry. The chapter on Erasmus makes a case for a strong tradition of political libertarianism that became a notable emphasis in English humanism. Then follow three essays on Spenser (especially Faerie Queene V and View), Shakespeare (especially the political plays of the late 1590s), and Milton (political writings, Paradise Lost, Paradise Regained.). Ozment and others have shown that the Reformation fostered the desacralizing of secular life, an impulse that Schneidau has seen as central to the Hebrew-Christian tradition. Texts like the infamous Vindiciae contra Tyrannos support this interpretation as regards monarchy, rather than the received views of Kantorowicz, which are perhaps more relevant to the Continent. The king-figure in the English mystery plays is often the butt of satire, in contrast to his more dignified counterpart in some Continental drama. The king-figure enters the morality-play tradition as the "pride of life," a transition observed in the hybrid play Mary Magdalene. Erasmus's writings develop from a unified political and religious sensibility in accord with what Mesnard calls his evangelisme politique. For Erasmus, order is not an end in itself but serves the ends of peace, which in turn allow the human soul the optimum liberty to choose or reject the virtuous life. Thomas More's earlier agreement with, and later departure from, Erasmus's views on political authority are related to the Henrician political crisis. Spenser's anti-absolutism and Erasmus-like concept of peace, order, and liberty are disclosed in explications of the Isis Temple, Souldan, Gerioneo, and Grantorto episodes of Faerie Queene V. These and other writings show the poet's belief in the need for aristocracy to act in the service of truth. Shakespeare's "second tetralogy" moves toward Henry V's renouncing "idol ceremony," in contrast to Julius Caesar, which presents a model of disordered polity. Civil idolatry (Milton's phrase) in that play and in Milton's long poems leads to tyranny and ritualism, accompanied by fear and awe. This logic is woven into the texture of hell in Paradise Lost. Paradise Regained advances the position through its redefinition of conquest and fatherhood in response to the "conquest theory" and patriarchalism with which monarchists justified their cause. Ultimately Milton places the blame for civil idolatry on the majority, who prefer a condition of subservience and awe because, as Shakespeare's Henry V declared, it relieves them of the responsibilities of consciousness. The epilogue glances at new directions in a comparison of the coronations of Charles II and of William and Mary.
The book illustrates the fact that in reforming theology sixteenth century theologians also reformed practice or the imperatives of Christian living. Experts in reformation studies identify and elucidate areas of sixteenth century reforming activity in Martin Luther, John Calvin and other leading reformers to demonstrate the thoroughgoing nature of the reformation agenda. The interpretation of Scripture, the centrality of Jesus Christ, the Jewish question, freedom and pastoral insight form the contents of an important section on Luther. The use of feminine imagery for God, the Augsburg Confession, deification, education, and the gospel are treated in relation to Calvin. The final section deals with Oecolampadius, the Son of Man texts in Matthew, justification, texts on difficult deaths and a Trinitarian exegesis of Scripture. By careful reading of both the historical situation and the primary texts this volume adds significantly to our understanding of the period.
First United Methodist Church in Augusta, Georgia, gives concerts to raise money for local service organizations. Trinity Lutheran Church in Mission, Kansas, has been sponsoring a religious art show for more than twenty-five years. Fellowship Lutheran Church runs a Christian arts camp for young people every summer. These are just three of the eighteen case studies of practicing arts ministries in this book, in which Michael Bauer encourages the nurture and support of all the creative gifts of God's people. Bauer lays a solid foundation for arts ministry, grounding it in the historic Christian tradition and urging churches to expand their engagement with the creative arts -- "to live and worship in full color," as he puts it. A concluding chapter clearly lays out how to develop an arts ministry, helping readers to take these ideas from theory to practice, to embrace and celebrate the continuing creative activity of God in the church.
Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations. The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include: Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party. The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand. Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today. Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.
This book sheds new light on the origin of Calvinism and the Reformed faith through a detailed history of its progress in the Pays de Vaud. A careful examination of twin conflicts – the forced conversion of a Catholic populace to Protestantism by the Bernese; and the struggle of Calvinists against the Zwinglian political and theological ideas that dominated the Swiss Confederation – helps show why the Reformation bloomed where and when it did.
This excellent resource presents short, meaningful selections from major Reformed theologians of Europe, the British Isles, and America during the classical period, 1519-1799. Arranged thematically according to major doctrines, it identifies significant theological points that illustrate both the distinctiveness and diversity of Reformed thought.
This book deals with the De Bry collection of voyages, one of the most monumental publications of Early Modern Europe. It analyzes the textual and iconographic changes the De Bry publishing family made to travel accounts describing Asia, Africa and the New World. It discusses this editorial strategy in the context of the publishing industry around 1600, investigating the biography of the De Brys, the publications of the Frankfurt firm, and the making of the collection, as well as its reception by Iberian inquisitors and seventeenth-century readers across the Old World. The book draws on a wide variety of primary sources, and is hence important for historians, book historians, and art historians interested in the development of Europe's overseas empires.